Emily C.'s MC Critique, 9/17/13

Master Class Critique, 9/17/13

Emily Cottam

Sam Meredith

For the timbre, there was a little bit of nasality (which Cindy attributed to tension at the root of the tongue later in the class). The high notes are a little out of tune; watch those; you had a tendency to go sharp. Expression was a little robotic, but the music was still being learned. The breathing seems to be good--I didn’t see any particular problems. 

Master Class: There’s a disconnection between the body and voice. Do more coordination with your body. Don’t just use the arms, but don’t be random too. Don’t drop the up beats and instead put movement into the entire phrase. Move through the phrase through the top note, and don’t just drop--float to the end of the phrase. Internalize the shape, and don’t instruct immediate body changes, but rather do an activity that unconsciously requires the desired physical response. 

Sing music like its a roller coaster--it keeps moving but changes shape--momentum. Make space to create brilliance and relax. Be more adventurous. Open up the chest like Tarzan, do small wall pushups; put arms up (parallel to the floor), palms up, put down. 

Overall, I think he responded very well to the instructions given to him--his body loosened up and so did his singing. The higher notes and the melodic like were smoother and more directional. 

Luke Shepherd

From the beginning I see some tension in your shoulders. Breathe more from the lower diaphragm, less from the shoulders. In the lower notes, you go a tiny tiny bit flat. Intonation is still very good besides that. Diction is good as far as I can tell. Maybe make some of the Os more pure. Expression is very consistent throughout and good. Timbre is very warm and has a musical theatre sound to it. Watch your right hand fidgeting. 

Master Class: Try and get away from Cindy with your arms behind you. Engage your abdominals. Work on an incremental movement towards the goal, which gives energy throughout the entire song in each phrase--linear direction under tension. Line up all the sounds, including consonants on higher notes. Don’t allow energy to be controlled by pitch. Engage before you even start to sing. 

Overall: His music improved quite a bit. The phrasing was really good and had direction and there was purpose. The music didn’t become so robotic and with the add “tension” of the phrase, the song became more meaningful.